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Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
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Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),
Zulfiya Spowart, Nulle part où aller (Nowhere to go),

Nulle part où aller (Nowhere to go), 2026
Zulfiya Spowart  

Sculpture : clay · 28 x 20 x 1 cm 11 x 7.9 x 0.4 inch

€1,950 1 950 €

One of the last works available by this artist

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Shipped from: France

Delivery to: France , € 25

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Verified Reviews : 9.6/10
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About the artwork

Type

Sculpture : Unique artwork

Condition

Artwork sold in perfect condition

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

clay , without pedestal

Dimensions ( cm • inch )

28 x 20 x 1 cm 11 x 7.9 x 0.4 inch Height x Width x Depth

Sold by

Art gallery

Galerie de l'Est • France

Credentials

Vetted seller since 2017 • Top Seller

Discount

This seller offers discount when you purchase multiple artworks.

Description

I began creating the ceramic series There Was a Home in Vienna. It was there that I started experimenting with ceramics, although the origins of this series date back to long before I moved to the city.

When I was living in Saint Petersburg, I often came across ruined nineteenth-century houses. I had always been fascinated by their remains. I photographed them with my phone, gradually building a kind of personal archive of these places.

After arriving in Vienna, I discovered a similar site near where I lived, where several houses had been demolished, probably because of their age. In the nineteenth century, houses were built adjoining one another. When one of them is demolished, the wall of the neighboring house often preserves the imprint of the one that has disappeared: wallpaper, ceramic tiles, and other traces of the inhabitants' lives reappear. This image, which had fascinated me for a long time, found its ideal expression in ceramics when I began working with the material.

In addition, I continue to collect photographs of demolished houses that I discover online. Unfortunately, the world is once again being devastated by wars. I think about it every day, hoping for the moment when they will finally come to an end, when people will stop dying, and when houses will no longer be destroyed. This reality has profoundly shaped the series.

I can say that each of my works always takes a real house as its starting point. However, throughout the creative process, I transform it profoundly. I alter some of the colors of the walls, sometimes adding graffiti or tags observed in the streets, as well as words gathered from the news. Some of the tags are photographed during my walks around the city. In this way, I create a collage that brings together houses that actually existed and fragments of my everyday urban surroundings.

Architecture

Wall sculpture

figurative

Colors

House

Beige

brown
Zulfiya Spowart

Zulfiya Spowart

Uzbekistan  • 1991

Presentation

Zulfiya Spowart (b. 1991, Tashkent, Uzbekistan) is a multidisciplinary artist based in London. She is a participating artist in The Aural Sea, the Uzbekistan Pavilion at the 61st Venice Biennale (2026). She holds a BA in Mural Art from the National Institute of Art and Design named after Kamoliddin Behzod.

Working across textiles, wood, sculpture and installation, Spowart builds material environments through processes of stitching, layering, carving and assembly. Using recycled and previously used materials that retain traces of touch, labour and repair, she treats materiality as a register of embodied experience, repetition and transmission. Her practice explores care as a system that operates across domestic, institutional and social structures, encompassing motherhood, childcare, ageing, illness and forms of bodily regulation. Through these interconnected conditions, she examines how everyday acts of support, maintenance and discipline shape lived experience while often remaining outside public visibility.

Drawing on Central Asian material cultures as systems of knowledge rather than vernacular forms, her work foregrounds the relationship between function, gesture and collective memory. Forms emerge through use, carrying histories of labour, care and intergenerational transmission.

Recent presentations include Elly-Belly (London, 2024), In/Visible: The Changing Shape of Womanhood(France, 2024), participation in the Silk Road Pavilion at the London Design Biennale, Surface Reflections (Somerset House, 2025). She was an artist in residence at Art'otel Hoxton, London, in 2025. Her work is held in the permanent collection of the Ruhsor Museum of Contemporary Art in Samarkand and in the collection of Regeneration Gallery, Tashkent.

Asian Art

Textile Art

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